The Flower of Bees

The Flower of Bees is a form of music used for entertainment originating in The Banded Funnel. The form guides musicians during improvised performances. A singer recites any composition of The Revisory Petal while the music is played on a ozlilumer and three netas. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance is very slow. The melody has short phrases throughout the form. The music repeats for as long as necessary. Throughout, when possible, performers are to add fills and alternate tension and repose.

• The singer always should be broad.
• The ozlilumer always should be delicate.
• Each netas always should be stately.
• The Flower of Bees has a well-defined multi-passage structure: a verse and a chorus, a bridge-passage and a chorus and a verse.
• The first verse is voiced by the melody of the ozlilumer, the harmony of the netas and the rhythm of the singer. The passage is to be moderately loud. The singer's voice covers its entire range. Only one pitch is ever played at a time in this passage. The passage is performed using the toker scale and in the orramoth rhythm.
• The first chorus is voiced by the melody of the singer, the melody of the netas and the counterpoint of the ozlilumer. The passage is to start loud then be immediately soft. The singer's voice ranges from the low register to the middle register. The passage has long phrases in the counterpoint melody. This passage features only melodic tones and intervals. The passage is performed using the stat scale and in the tethan rhythm.
• The bridge-passage is voiced by the melody of the ozlilumer and the melody of the netas. The passage is to be loud. This passage is richly layered with full chords making use of the available range. The passage is performed using the anon scale and in free rhythm. The passage should be performed using trills.
• The second chorus is voiced by the melody of the singer and the rhythm of the netas. The passage is to fade into silence. The singer's voice stays in the low register. This passage features only melodic tones and intervals. The passage is performed using the imkekir scale and in the binmonor rhythm.
• The second verse is voiced by the melody of the singer, the counterpoint of the ozlilumer and the rhythm of the netas. The passage is to be moderately loud. The singer's voice covers its entire range. The passage has phrases of varied length in the counterpoint melody. Only one pitch is ever played at a time in this passage. The passage is performed using the ozisash scale and in the segultumagul rhythm. The passage should be performed using grace notes.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. Every note is named. The names are tamosh (spoken ta), muzlom (mu), ozol (oz), mer (me), zulal (zu), kistek (ki), lesul (le), sak (sa), odulimozsen (od), nebulursed (ne), rokul (ro) and elomamar (el).
• The toker pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named un and ong.
• The un trichord is the 1st, the 3rd and the 7th degrees of the semitone octave scale.
• The ong trichord is the 8th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The stat heptatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named kam and afonan.
• The kam tetrachord is the 1st, the 2nd, the 4th and the 7th degrees of the semitone octave scale.
• The afonan tetrachord is the 8th, the 9th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The anon hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named kam and tinos.
• The tinos trichord is the 8th, the 9th and the 13th (completing the octave) degrees of the semitone octave scale.
• The imkekir pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named kekorith and ong.
• The kekorith trichord is the 1st, the 5th and the 7th degrees of the semitone octave scale.
• The ozisash pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named vallal and tinos.
• The vallal trichord is the 1st, the 6th and the 7th degrees of the semitone octave scale.
• The orramoth rhythm is made from three patterns: the ozlomig (considered the primary), the gubolil and the sek. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ozlomig rhythm is a single line with three beats. The beats are named comthad (spoken co), tigir (ti) and erith (er). The beat is stressed as follows:
• | - x x |
• where x is a beat, - is silent and | indicates a bar.
• The gubolil rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
• | x - - x | x - - x |
• where x is a beat, - is silent and | indicates a bar.
• The sek rhythm is a single line with nineteen beats divided into two bars in a 8-11 pattern. The beat is stressed as follows:
• | x x X'x x x - x | x x ! - - - - - - - - |
• where ! marks the primary accent, X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The tethan rhythm is made from two patterns: the sek (considered the primary) and the ozlomig. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The binmonor rhythm is a single line with twenty-six beats divided into five bars in a 7-4-5-5-5 pattern. The beat is stressed as follows:
• | x - - x X x`- | - x x - | - - - - x | ! - - x x | - - x'- - |
• where ! marks the primary accent, X marks an accented beat, ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The segultumagul rhythm is made from two patterns: the ster (considered the primary) and the gubolil. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ster rhythm is a single line with thirty-two beats divided into six bars in a 5-5-5-7-5-5 pattern. The beat is stressed as follows:
• | x X - x - | - x X x'- | X x - x x | - x x - - - - | - x - x - | x - X'x - |
• where X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

Events